Just in time for spooky season when the veil gets thinner between the living and dead, the maestro of horror returns to haunt North America! Claudio Simonetti’s Goblin will be performing two special headlining tours of Canada and the United States. From October 8 – 15, the horror collective will bring the score of Dario Argento’s ‘Suspiria’ along with a screening of the film for audiences in Canada. The band is now announcing a new venue and location for the previously announced October 25 performance, which will now take place in Brattleboro, VT. In addition, three of the five Canadian dates are close to being sold out! Tickets are now on sale at THIS LOCATION.
Then, the band will cross into the states to deliver the sounds of Argento’s ‘Deep Red / Profondo Rosso’ to a special 50th anniversary screening of the filmfrom October 24 until the tour’s epic conclusion in Los Angeles, CA on November 8 as one of featured artists for Future Ruins Music & Arts festival. Organized and curated by Trent Reznor and Atticus Ross, Future Ruins is a first-of-its-kind music festival: a day-long event where the world’s most influential film and television composers step out from behind the screen and onto the stage. Simonetti’s Goblin will perform along with other composers who are household names such as Danny Elfman, John Carpenter and their younger contemporaries like Cristobal Tapia de Veer (‘Black Mirror,’ ‘The White Lotus,’ ‘Babygirl,’ etc). More info and tickets on the event can be found HERE.
The band will be performing a full concert instead of a movie screening during their exclusive appearance at both Future Ruins festival. This will be the only full GOBLIN concert of the tour.
Composer Claudio Simonetti has written and recorded some of the most influential scores and soundtracks in horror, including ‘Suspiria,’ ‘Dawn of the Dead,’ ‘Deep Red / Profondo Rosso,’ ‘Tenebre,’ ‘Demons,’ and many others, with his seminal work still informing the genre to this day.
Claudio Simonetti’s Goblin Canadian Tour 2025 (performing ‘Suspiria’):
10/08: Calgary, AB @ Globe Cinema LOW TICKET WARNING 10/09: Calgary, AB @ Globe Cinema LOW TICKET WARNING 10/11: Edmonton, AB @ Metro Cinema LOW TICKET WARNING 10/14: Vancouver, BC @ Rio Theatre 10/15: Vancouver, BC @ Rio Theatre
Claudio Simonetti’s Goblin U.S. Tour 2025 (performing ‘Deep Red / Profondo Rosso’):
10/24: New York, NY @ City Winery 10/25: Brattleboro, VT @ Stone Church JUST ADDED 10/26: Philadelphia, PA @ City Winery 10/29: Boston, MA @ City Winery 10/31: Austin, TX @ Paramount Theatre 11/01: Boston, MA @ City Winery 11/02: Seattle, WA @ El Corazon 11/05: Portland, OR @ Aladdin Theatre 11/08: Los Angeles, CA @ Future Ruins* *Best of set only
Claudio Simonetti is a renowned composer, musician, and keyboardist, best known for his work in the horror film genre. He gained fame as the founder of the Italian progressive rock band Goblin, which became iconic for its collaborations with director Dario Argento, particularly with films like Suspiria and Profondo Rosso.
Simonetti’s compositions are characterized by their innovative use of synthesizers and orchestral elements, blending rock, classical, and avant-garde influences. His scores have significantly contributed to the atmospheric tension of Argento’s films and have garnered a dedicated following. In addition to his film work, Simonetti has released solo albums and continues to perform internationally, celebrating the legacy of Goblin while exploring new musical avenues.
With a career spanning several decades, Simonetti remains a pivotal figure in both the horror film industry and the progressive rock scene, influencing a generation of musicians and filmmakers.
While they quickly amassed a cult following behind one of the most ambitious epics in metal history, for the past 35 years, there was one tale – or three, to be exact – that continued to elude Green Carnation. That is, until now. With A Dark Poem, Part I:The Shores of Melancholia, the long-accomplished prog metal journeymen are finally setting sail on an epic album trilogy that will take fans to the highest peaks and darkest inner rooms.
“The songwriting is understated yet constantly captivating”, PROG writes in praise of The Shores of Melancholia, “while the individual tracks are all capable of shining under their own lights, The Shores of Melancholia works best as a whole. There’s an ebb and flow and a sense of cohesion even when they dip towards the extremes”.
“The Shores of Melancholia leans heavy into huge, tear-stained melodies and the lush analogue wash of old-school instruments”, writes Metal Hammer, “…the album’s core is dark, progressive wonder, as meticulously executed as ever”.
“I can’t say enough good things about this album”, says Sea of Tranquility, “…there is nothing I’ve heard this year that has provided a pleasant suprise quite like The Shores of Melancholia. A brilliant prog metal release that I will have on high rotation for years to come”.
A Dark Poem, Part I: The Shores of Melancholia was released yesterday, September 5, and you can hear all six grand and gloomy songs by listening to the full album stream on the Season of Mist YouTube channel:
“Today is a milestone in Green Carnation’s history, as we’re now finally able to share the first part of A Dark Poem with the world”, says the band’s vocalist Kjetil Nordhus. “The incredible amount of work behind this album, and the time it took to finish it on the level we wanted, makes it even sweeter to finally be here. This is indeed a proud moment for Green Carnation. We are looking forward to the journey ahead”.
Green Carnation will perform all of A Dark Poem live in their hometown of Kristiansand, Norway on September 12, 2026. During this once-in-a-lifetime 3-hour performance, the band will perform all three parts of their epic album trilogy in full, one after another, alongside some very special guests and the Kristiansand Symphony Orchestra.
No matter how long or where the journey has taken them, Green Carnation have always sought to climb the highest mountains. While founded by Emperor’s former bassist Tchort in the early ’90s, the Norwegians quickly blazed their own trail through fields of symphonic doom, hard rock, acoustic plucking and progressive metal. The idea for an album trilogy stems back to the band’s very first opus, Light of Day, Day of Darkness, though the inspiration for A Dark Poem dates back even further to Arthur Rimbaud’s 1870 poem “Ophelia”.
“We like to purse things that are extremely ambitious”, says Nordhus. “Creating a trilogy of albums felt like it might be just out of our reach, which is what made us want to see if we could do it”.
Though only the beginning of the band’s latest epic journey, The Shores of Melancholia pulls a page from across Green Carnation’s storied 25-year discography. The album’s opening one-two punch landed a direct hit during the band’s set yesterday at ProgPower USA. “As Silence Took You” opens its sails with majestic, billowing leads before “In Your Paradise” chugs full steam ahead after the clarion call of a flute. “It makes you want to bang your head a little”, Nordhus says with a pleased smile. “I think melancholia suits Green Carnation very well”.
While navigated with the band’s familiar mastery, the view from The Shores of Melancholia is no palatial retreat. “The album reflects the troubled relationship between our personal lives and the external world”, Nordhus explains. “It’s about losing faith in the world we’ve come to know and how that leads to an inner dystopia”. Judgement day appears around every corner, steering them from the title track’s anxious war-torn tide to the Floydian whirlpools of paranoia that drench “Me, My Enemy”. The dark and stormy “The Slave That You Are” even claws back to Green Carnation’s budding days in extreme metal thanks to the blackened howl of Enslaved’s Grutle Kjellson.
“A lesson learned, now bridges burn”, Nordhus cries out with impassioned cleans, as if tied to the mast during the album’s bright and blazing closer “Too Close to the Flame”.
On A Dark Poem, Part I: The Shores of Melancholia, Green Carnation set sail on an epic journey into a dark night of the soul.
Tracklist: 1. As Silence Took You (7:12) 2. In Your Paradise (7:04) [WATCH] 3. Me, My Enemy (7:17) 4. The Slave That You Are (Featuring Grutle Kjellson of Enslaved) (6:16) 5. The Shores of Melancholia (5:38) [WATCH] 6. Too Close to the Flame (9:16)
Rebirth doesn’t occur overnight, nor can it exist in a vacuum.
Norway’s Green Carnation know all about starting over and working hard to achieve their shared goals, while overcoming adversity.
A Dark Poem, Part I: The Shores of Melancholia is Green Carnation’s latest album, the first in a trilogy that is sure to please longtime fans of the band’s epic, landmark release, Light of Day, Day of Darkness. The Shores of Melancholia feels of two worlds; a level of immediacy combined with this insistent feeling that, yes, something substantial is indeed brewing within Green Carnation’s creative minds.
“I think it is right to say we are returning to a long-form storytelling like Light of Day, Day of Darkness,” begins Green Carnation’s vocalist Kjetil Nordhus, “…but just done in a totally different way. It is not feasible to try and copy ourselves by doing another hour-long song or anything. It has already been done. But on the levels of epic-ness and storytelling I feel that A Dark Poem certainly has those elements, within a three-album frame.”
The Shores of Melancholia is an album that’s sure to please both longtime fans of Green Carnation, as well as those new to the fold. The album opens up with two back-to-back bangers that incorporate the catchy rock arrangements that helped define the band’s Blessing in Disguise era. “As Silence Took You” and “In Your Paradise” are melodic, with strong hooks and choruses that welcome listeners to Green Carnation’s newfound heaviness.
The band’s bassist and songwriter, Stein Roger, explains, “A Dark Poem is a collection of songs that explore feelings of alienation in existential questions and down to the very inner self. The first part of the trilogy throws the listener into these questions from the first song. We hope to keep the audience trapped in there with us until the last second of the third album. The albums do vary in style, but always with the same basis. If we manage to keep the audience trapped within each album, we will manage to keep the audience trapped throughout the trilogy, which would be a great achievement.”
“Me My Enemy” starts out slow, anchoring a spacey, almost jazz fusion groove from drummer Jonathan Alejandro Perez with a bass line from Roger that’s impossible to deny. This song features some of the album’s most notably memorable lyrics, as well, as Nordhus delivers what’s perhaps the album’s definitive vocal performance. This song’s dark melancholy is juxtaposed against “The Slave That You Are,” an aggressive throwback to Green Carnation’s underground past that features guests vocals from Enslaved’s Grutle Kjellson.
Elsewhere, the album’s title track feels mysterious and moody, a song with a vibe that matches the evocative cover art from former Dark Tranquility guitarist Niklas Sundin. “The Shores of Melancholia” retains a chorus that’s striking and dynamic, thanks to the subtle keyboard playing of Kenneth Silden. Finally, “Too Close to the Flame” brings the album to a fittingly grand finale, clocking in at nearly 10 minutes, with some of the album’s most progressive arrangements. At the same time, however, the song breezes by with a natural sense of song craft that’s sure to make Green Carnation fans want to replay their journey to The Shores of Melancholia from the very beginning.
It isn’t as if Green Carnation need a lot of assistance retaining attention from their audience, of course, as evidenced by their triumphant appearance at the 2016 ProgPower Festival. This was a reunion born from tough times, a temporary hiatus that occurred in 2007 after a troublesome U.S. tour in support of their Acoustic Verses album.
Nordhus asserts, “since coming back in 2016, the extremely positive feedback from fans, record buyers, concert audiences, music writers, reviewers and the metal community in general has been very motivating for us, first to continue after 2017, and then to sign the very ambitious record deal with Season of Mist, which includes the trilogy project.” He continues, “I think, with A Dark Poem, we are doing something that will be a milestone in our career – challenging for ourselves, challenging for our fans, just the way Green Carnation has always been.”
Those fans have always possessed a profoundly emotional connection to Green Carnation, one that feels frank, unique and dedicated. The collective grief associated with the aforementioned Light of Day, Day of Darkness today almost feels like a legacy of sorts – cathartic energy that continues to connect listeners to the music of Green Carnation.
Kjetil and Stein Roger seem to be in agreement with this observation, admitting, “the very strong emotional connection is most certainly a connection we do feel when releasing new music, at every live show, and in the time in between. With Light of Day, Day of Darkness being an album that connected so strongly to so many people, there has never been a time where the band’s legacy has separated with this, and – in different forms – we have continued to explore many of the same themes as in that album, although maybe not that specific.”
The Shores of Melancholia and this idea of a multi-album series is one that’s been kicking around within the Green Carnation camp for years. There was even talk, at one point, of the band releasing a concept release titled The Rise and Fall of Mankind. Nordhus is quick to distinguish this first entry in ADark Poem as dedication for the future, however, saying, “I think it is fair to say that the idea of a trilogy was born then, yes, but The Rise and Fall of Mankind never materialized. Although there might have existed themes and ideas at the time with The Rise and Fall of Mankind in mind, A Dark Poem is composed with 100 percent focus on writing new material that fit together as a monumental piece of music in three parts.”
The vocalist continues to discuss the timeline for this new album’s songwriting roadmap, informing us that, “it began before ‘The World Without a View’ [single], AND The Leaves of Yesteryear to be totally honest. When signing the new deal with Season of Mist in 2017, we had the trilogy project in mind, and it was part of the reason that we did sign a five-album deal with the label at the time. We knew that we needed time to do the trilogy project and planned to release one album plus re-launching The Acoustic Verses in the process, to give us enough time.”
If 2020’s Leaves of Yesteryear was the resounding call for Green Carnation’s aforementioned rebirth, then The Shores of Melancholia is the album where, from the point of view of both Kjetil and Stein Roger, the band lay it all out on the proverbial table. And that includes returning to the live stage.
“I can promise you that the ambitions are sky high musically,” reply both men. “With this trilogy we have put in an extreme amount of work over a very long period of time, and we are confident that this will be a milestone in Green Carnation’s career.” They go on to admit that, “what happens live is not only up to us. But by being a very active band with releasing not less than three albums in 2025 and 2026, we are certainly hoping to be a band that many people want to see live, and that concert and festival promoters want to book. We are already working extremely hard on The Shores of Melancholia live set, so we will be ready!”
Current line-up Kjetil Nordhus – Vocals Tchort – Guitar Bjørn Harstad – Guitar Stein Roger Sordal – Bass Endre Kirkesola – Keyboards Jonathan Alejandro Perez – Drums
Recording line-up Kjetil Nordhus – Vocals Bjørn Harstad – Guitar, Effects Stein Roger Sordal – Bass, Guitars, Keyboards Endre Kirkesola – Keyboards, Synthesizers, Organs, Effects Jonathan Alejandro Perez – Drums
Guest Musicians Ingrid Ose – Flute on “In Your Paradise” & “Me My Enemy”. Grutle Kjellson (Enslaved) – Harsh Vocals on “The Slave That You Are”. Henning Seldal – Percussion on “Too Close to the Flame”.
Production Credits Recorded at DUB Studio in Kristiansand, Norway Produced by Endre Kirkesola, Stein Roger Sordal & Kjetil Nordhus. Sound Engineering by Endre Kirkesola. Mixed by Endre Kirkesola & Bjørn Harstad Mastered by Lawrence Mackrory
With the release of their long-awaited new album “Unholy Retribution”, VIOLATOR strike again with a furious final preview: the brand new single “Hang the Merchants of Illusion”.
If their earlier tracks teased the firestorm to come, this one throws the listener directly into the inferno. Fast, vicious, and unrelenting, the song showcases the Brazilian thrash masters at their most incisive and venomous, wielding riffs like blades against the hypocrisy and deceit they see dominating today’s world.
Musically, “Hang the Merchants of Illusion” is a relentless barrage of razor-sharp guitars and crushing rhythms, a whirlwind that harks back to the best moments of classic Slayer, Kreator or Dark Angel while remaining unmistakably VIOLATOR. The track captures the essence of old-school thrash — raw energy, speed, and aggression — but sharpens it with the precision and experience of a band that has honed its attack for over two decades.
Lyrically, the song fits perfectly into VIOLATOR’s tradition of social confrontation, pointing fingers at those who manipulate, deceive, and exploit. The “merchants of illusion” are exposed and condemned, their false promises torn apart in a furious thrash anthem that feels both timeless and painfully relevant.
Stream “Hang the Merchants of Illusion” now and prepare for the full-scale assault of “Unholy Retribution”, out tomorrow via Kill Again Records.
Album tracklist:
1. Hang The Merchants Of Illusion 2. Cult Of Death 3. Persecution Personality 4. Destroy The Altar 5. The Evil Order 6. Chapel Of The Sick 7. Rot In Hell 8. Vengeance Storm
True to their roots yet revitalized by a long and intense creative process, “Unholy Retribution” captures VIOLATOR at their most inspired and ferocious. The band delivers a powerful and uncompromising collection of songs that revisit their trademark thrash metal with renewed energy and purpose. This is not a reinvention, it’s a reaffirmation of everything that made VIOLATOR a cult force in the global underground.
From the raw aggression of their breakout EP “Violent Mosh” (2004) and the now-classic debut full-length “Chemical Assault” (2006), VIOLATOR made their mark with a youthful urgency that took no prisoners. That same intensity is alive and well on “Unholy Retribution”, but now it comes sharpened by experience and delivered through more dynamic, tightly constructed compositions. The fire hasn’t dimmed, it’s evolved.
Musically, the album bursts with blistering riffs, tight rhythmic precision and an unmistakable sense of urgency. Groove-laden catchiness and flashes of technical brilliance keep the tracklist flowing like a furious tide – unpredictable, violent and cathartic. The production matches this ferocity with a sonic identity that’s both organic and clear, yet unpolished in just the right way: a raw, analog-flavored mix that enhances every snare hit and guitar bite without sacrificing the band’s gritty edge. It’s a sound that feels live, alive, and undeniably VIOLATOR.
Lyrically, the band stays loyal to its mission: confronting injustice, exposing corruption and shining a harsh light on the rot festering beneath the surface of modern society. With “Unholy Retribution”, VIOLATOR continue to use their music as both weapon and warning.
This is the record that fans of early Vio-Lence, Kreator and Dark Angel have been waiting for – a no-holds-barred thrash assault, deeply rooted in tradition yet bursting with contemporary urgency.
The wait is over. The retribution is unholy. And it starts now.
Line-up:
Poney Ret Crucifier – Bass,Vocals Capaça Bloody Nightmare – Guitars Cambito Chains Killer – Guitars Batera Bone Crusher – Drums
Cleopatra Records’ long-running love affair with Andy Blade and Eater is old news now. But even we reckon they’ve out-done themselves on their latest album, as founding frontman Blade looks back to his own days in the punk rock trenches, and wonders what all those other bands’ hits might have sounded like, had Eater got hold of them first.
He calls the album Duplication. But it’s a long, long way from that.
Duplication itself lands on October 31. Ahead of that, though, the first single “Breakdown” is released today, and it takes us all back to a very specific time and place, to the night in November 1976 when Eater played their first gig with the Buzzcocks.
“Breakdown,” says Blade, “was a song that stuck in my head immediately. I loved its jerky delivery and lyric-spitting vibe and the fact it was so short. There was a lyric sheet of the song in the dressing room that I sneaked a look at. ‘These aren’t song lyrics,’ I thought – ‘this is a fucking essay!” – it had so many hard to scan, extra length verses with long words/phrases I’d never heard before at just 15 years old.
“I thought – ‘Now I understand what the essence of punk rock is – super fast, but also intelligent’.”
Ten songs make up the album, and to call it punk rock’s greatest hits is almost an understatement. We are locked wholly into 1976-1977, with The Ramones’“Beat On The Brat” and the Damned’s “New Rose” also hearkening back to that earlier year. “New Rose,” in fact, was the first British punk single ever released, and Eater’s “Outside View” debut, also revisited here, was the third. (The Pistols’ “Anarchy in the UK” fell in between.)
From thereon, Generation X, the Saints, the Clash, Johnny Thunders and the Heartbreakers and the Only Ones flash past, alongside a glorious retake on what is probably the most “punk” song of them all, The Sex Pistols’ “God Save The Queen”… released to coincide with Her Majesty’s silver jubilee, and accompanied by so many tidal waves of media condemnation… has any record ever caused so much fuss?
“The tracks on Duplication are essentially my favourite songs out of the seminal punk classics,” explains Blade, “before punk rock became somewhat homogenized as a formula. Whilst it is a covers album – it is not just a covers album.
“There is a difference because I was ‘there’ with my band during the explosive year of 1977 – these songs mean something to me in a visceral sense. There’s a spirit to the tracks that seems to come alive as we rehearsed them. Most importantly, however, Duplication was great fun to create and I think, as a result, it is – I hope – great fun to listen to.”
When by:Larm kicks off on Thursday, September 11, the rock and metal program by:Larm Black is once again ready to infiltrate the festival with dark and uncompromising expressions. The concept, run by Celine Høie together with Linda Melsom, has in just a few years grown into an indispensable part of the festival. In 2025, a total of seventeen concerts will be presented over three days at Vulkan Arena and Pokalen in Oslo, in addition to panels featuring major industry names.
This year’s line-up reflects a scene in rapid motion, with more variety than ever before.
“I’m incredibly proud of this year’s line-up, especially the huge range of genres. The program showcases everything from punk, nu metal, and doom to metalcore, rock, folk punk, and black metal. It’s exactly this variation that makes by:Larm Black so unique, and audiences can discover bands from across the spectrum that both mirror today’s scene and point towards the future,” says project manager and head of booking for the Black programme, Celine Høie.
The initiative is also bigger than ever, with more bands and strong partnerships. In 2025, by:Larm Black collaborates with Inferno Festival (NO), Daniel P. Carter from BBC Radio 1’s Rock Show (UK), Mystic Fest (PL), Buktafestivalen (NO), The Spanish Wave (ES), and Radio Rock (NO). All of these partners are both presenting bands and participating in panels.
“This year we have fantastic partners onboard, which gives the program a new weight. It’s amazing to see how by:Larm Black has developed into such an essential meeting place for the heavy scene. When players like this stand behind by:Larm Black, it gives bands an incredible opportunity to be discovered, not just in the Nordics but also across Europe and the rest of the world,” continues Høie.
With Linda Melsom as part of the team, by:Larm Black has succeeded with putting together a program that showcases the diversity of the heavy music scene while also giving space to emerging bands.
“I’m very proud that we’ve put together a program that showcases the diversity of what’s happening in the heavier field, and it’s insanely cool to help lift new bands on Scandinavia’s biggest industry festival. The heavier genres are often underrepresented, but with by:Larm Black we’ve gained a unique opportunity to give emerging bands a real chance to present themselves to both fans and the international industry,” says Linda Melsom, who together with Høie curated this year’s line-up.
About by:Larm
Since its launch in 1998, by:Larm has established itself as the leading showcase festival in the Nordics, combining a music industry conference with a festival program that highlights the most promising new artists. The festival annually attracts over 2,000 delegates and has previously presented artists such as Girl in Red, Billie Eilish, Sigrid, Lewis Capaldi, Astrid S, Tove Lo, MØ, Icona Pop, Lykke Li, Todd Terje, Jenny Hval, and Aurora – all just before their international breakthroughs.
In 2025, by:Larm Black will be presented in full scale for the ninth time, and the concept has grown into a central part of the festival – for both fans and the international music industry. CEO of by:Larm, Tonje Andersen, says:
“It’s great to see how the by:Larm Black concept has established itself as a natural and strong part of the festival. This shows how important these genres are, and how much engagement they spark among the audience,” says Tonje Andersen, CEO of by:Larm.
Evening Program – Day Pass only 350 NOK
Thursday, September 11 19:30: Metaltalks: Voices Behind the Volume with Spotify, BBC Radio 1 and Radio Rock 20:30: Blindead 23 (PL) – Presented by Mystic Festival 21:00: GRIN (DE) – Presented by Inferno Festival 21:30: LUNA KILLS (FI) 22:00: Feral Nature (NO) 22:30: Heave Blood & Die (NO) 23:00: Frozemode (UK)
Friday, September 12 19:30: Metaltalks: From Underground to Main Stage with Inferno Festival, Mystic Festival (PL), Buktafestivalen, and The Spanish Wave / Live Nation (ES) 20:30: Jordsjuk (NO) 21:00: Håndgemeng (NO) 21:30: Pushwagnergruppen (NO) 22:00: JØL (ES) – Presented by The Spanish Wave 22:30: LÜT (NO) – Presented by Buktafestivalen
Saturday, September 13 20:00: Suncraft (NO) – Presented by Radio Rock 20:30: Håndgemeng (NO) 21:00: FAENIHÆLVETTE (NO) 21:30: Feral Nature (NO) 22:00: Rifle (UK) – Presented by Daniel P. Carter / BBC Radio 1 22:30: MÍO (NO)
Conference – Requires Delegate Pass
Friday, September 12 13:00: by:Larm Black: Breaking Stereotypes – Gender and Identity in Rock & Metal With: Matt Rushton (Knotfest), Kathrine Shepard (Sylvaine), Leoni Dowidat (Better Noise Music), Hennie Johnsen (MÍO) Read more here
15:00: by:Larm Black: From Riff to Rave With: Daniel P. Carter (BBC Radio 1 Rock Show), Liam Carney (Download Festival / Live Nation), Dennis Moll (Century Media), Celine Høie (by:Larm Black / Indie Recordings) Read more here
US power metal luminaries Kamelot has shared an instrumental demo of ‘Millennium’, taken from their forthcoming deluxe 3CD and 5 vinyl LP boxset ‘Ascension (1995-1998)’. ‘Ascension (1995-1998)’ brings together the band’s first three full-lengths and is set for release on September 19th, 2025.
Kamelot’s ‘Eternity’, ‘Dominion’ and ‘Siége Perilous’ are brought together on vinyl for the very first time with a new remaster from Jacob Hansen (Volbeat and Epica), as well as previously unreleased demo tracks for ‘Look Through These King’s Eyes’, ‘Millennium’ and ‘Eternal Flame’. Having been out of print for two decades, ‘Ascension 1995-1998’ is a deluxe box-set package with curation handled by guitarist/songwriter Thomas Youngblood.
‘Ascension 1995-1998’ showcases the origins of Kamelot, from original vocalist Mark Vanderbilt’s two album tenure on ‘Eternity’ and ‘Dominion’ all the way through to the introduction of long-term talismanic vocalist Roy Khan on his studio debut, ‘Siége Perilous’, in 1998.
Accompanying the boxset is a 20 page full-colour booklet with in-depth liner notes, featuring a fascinating insight into the band’s history through interviews with Thomas Youngblood, and a full-color poster.
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
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